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Playing a Telecaster and layering the sound, Rundgren charges aggressively through Johnson’s repertoire, and, like Clapton, he pulls off the vocals without sounding out of his element.

Will blues diehards find Rundgren’s homage compelling? Unlikely. After all, countless musicians have paid tribute to Johnson in more emotionally stirring ways. Yet for Rundgren devotees and many others, this Delta-inspired excursion is well worth checking out.

Rundgren tips his hat not only to 'Robert Johnson' but to his ’60s British blues-rock disciples — Eric Clapton and John Mayall, for instance. Raucously electric versions of “Dust My Broom,” “Traveling Riverside Blues” and

“Kindhearted Woman Blues"

reveal the impact that albums by Mayall’s Bluesbreakers, the Yardbirds and Cream have had on Rundgren’s approach to reviving vintage blues.

Yes, one of the Greatest Live recordings I've ever heard and you'll ever here. Right up there with 'The Allman Brothers' Live recording 'Live At Filmore East'.

It also just so happens to have been recorded from 'The Allman Brothers' home base in Atlanta, GA. at the 'Fox Theatre'. Todd, certainly must have been making a statement here. Yes, from the original lineup of 'Todd Rundgren's Utopia', Here's:

From the Website article: http://www.seaoftranquility.org/sections.php?op=viewarticle&artid=113

“The Ikon” is Progressive Rock at its finest, bringing to the table the fusion muscle of bands such as the Mahavishnu Orchestra and Return to Forever, as well as prog legends such as Yes, ELP, Camel, and Focus.

Here, the three keyboard format works to its fullest, as Klingman, Labat, and Schuckett add in layer after layer of varied keyboard sounds using Moog, Fender Rhodes, and organ, creating a huge wall of sound over which Rundgren’s vocals can soar.

The song takes many paths, changing tempos and moods often, at times broken up by a searing, effects laden guitar solo from Rundgren, a wild Moog passage from Labat, intricate rhythms from Siegler and Ellfman, or an atmospheric section made tranquil by multiple keyboard sounds.

Rundgren’s Guitar work is Raw and Powerful, and paired with the huge wall of keyboards and the muscular drum work of Ellman, provides for perhaps one of the musician’s classic moments.

Rundgren did the impossible with this album (Todd Rundgren's Utopia), topping nearly every other prog band out there in terms of instrumental dexterity and epic scope. Without ignoring the other incredibly-talented members, this is really the album that makes Todd Rundgren a god to me, even if I only like a small fraction of his total output. His beyond- John McLaughlin guitar insanity, his warm, friendly vocal tone, and the fact that he wrote and directed this monumental, impossible collection of music...I am forever in awe.

This album 'Another Live' was recorded on the tour promoting Todd's Initiation album, features Utopia with two new members Roger Powell and John "Willie" Wilcox as well as featuring back up singers from David Bowie's Young Americans. Unlike most live albums, most of the songs on here hadn't been released on other records and there are no overdubs. The first half is made up of all new originals and starts off with a great song called Another Life by Todd and Ralph. I was always bummed that Utopia never played this song more as it's one of their best. The Wheel is a strong tune with Todd playing an acoustic guitar and this version has an almost carnaval feel to it. The Seven Rays is another very strong song written by Todd and John and has a cool instrumental section in which the keyboards are used to good effect.

The second half opens with Intro which is an instrumental bit between Todd and Roger before giving way to Roger's Mr. Triscuits which Roger would later rerecord for Air Pocket. This leads into a nice cover of Something's Coming. Heavy Metal Kids is the first song on the album to have already made an appearence elsewhere in a studio version Todd. The band then does a cover of The Move's Do Ya which was also a concert staple of ELO (the group that evolved out of The Move). The release is rounded out with a stunning version of Todd's A Wizard, A True Star song Just One Victory. All in all, a true classic that has aged like fine wine.

On CD, 'Healing's calming effect is dissipated somewhat because the bonus 7" single

"Time Heals"

is added at the end. It's presence makes it clear that 'Healing' was intended as an album unto itself, without much in the way of singles. In this context, it may reduce the lasting 'spiritual impression' of the album, but also Adds musical weight, helping make the disc a fine effort.

Though one has to be in the mood to appreciate Todd's wide spectrum of musical styles, It is this variety which makes it such a fine showcase of Rundgren’s talents and the crowning achievement of his very respectable repertoire

Saving the best to last, the final three tracks drive the album home in some style. 'Mountaintop' is tailor made for live performance with its massed guitars and super catchy "higher higher" refrain in the chorus. 'Panic' is classic Rundgren with its whip smart time changes and vocal hooks, and the closing

'MANUP'

is a shiny stadium rocker that manages to squeeze in a big guitar solo but does not outstay its welcome.

Although there are some who may wish Arena was recorded with a band rather than Rundgren's ususal Protools set-up, which occasionally restrains the more powerful rock tracks, the songwriting continues the rich vein of form that was evident on his last cd 'Liars'.

Nearly Human finds Rundgren at the top of his game as a performer, producer and songwriter, sustaining his momentum in a way he hadn't for nearly a full decade. Featuring his Outstanding guitar playing in

It makes sense that The Hermit of Mink Hollow — his first full-fledged solo album since Initiation, if you discount the half-cover/half-original Faithful — finds Rundgren in his pop craftsman persona. The difference is, he's heartbroken. His relationship with Bebe Buell collapsed during 1977 and it's clear that the separation has pained him, since pain and melancholy underpin the album, whether it's on ballads ("Can We Still Be Friends") or on apparently joyous revelries, like "All the Children Sing." That said, this is a Rundgren solo album and he has not abandoned his trademarks, which means that the lush ballads are paired with novelties ("Onomatopoeia," which sounds exactly how you hope it does), ersatz soul ("You Cried Wolf"), and pure pop ("Hurting for You").

Hermit is also the first record Rundgren recorded completely alone since Something/Anything? Where that record sounded like the inner workings of a madman, with each song providing no indication what the next would sound like, Hermit is more cohesive. It also feels less brilliant, even if it is, in many ways, nearly as excellent as Rundgren's masterwork, mainly because it doesn't have such a wide scope. Still, the reason The Hermit of Mink Hollow is such a milestone in Rundgren's career is because it's a small album, filled with details, and easily the most emotional record he made.

eschews much of the musical experimentation of Rundgren's debut and is essentially a straight-ahead pop album. But it's a superlative pop album and, in my opinion, one of the best titles in Rundgren's large catalog. I love the cover art — it's a photo of Todd sitting at a piano with a noose tied around his neck. Perhaps this is meant to convey Rundgren's angst at being forced to write the hooky pop songs that he seemed to make so effortlessly; I don't know.

What I do know is that, despite the ease with which these tunes go down, Rundgren's keen intelligence is still in evidence, both in terms of keeping the pop songs from meandering into formula and in terms of lending an occasional sardonic edge to the lyrics. After The Ballad of Todd Rundgren, Rundgren spent much of the rest of the 1970s making music that was more technically and instrumentally ambitious. Yet I think the songs on this album are so good that their relative simplicity is a non-issue.

If you like smart 1970s pop, you really should try to get a copy of this Excellent album, especially if you've already heard and liked the follow-up Something/Anything!

time stops, a light goes on a thundering head and no body washed up and woke up on the beach seaside breakfast with tender egg on white sand legs long and tan without a break even to the neck suddenly, simultaneously an eclipse and a snowfall flakes mest instantly on the shoulder like wet silver burning holes all the way to the marrow puckered flesh, like avacado, sags into a green pool all the birds leave raking turquoise ruts across a velveeta sky it's time to scream!!

Todd's as interested in sound as he is in song and while he would later pursue these tendencies to extremes, Runt finds him learning how to create an effective sound with the studio, which may be the reason why the album runs the gamut from power pop rockers like

"DEVIL'S BITE"

All the details buried within these songs -- not only in the deceptively direct productions, but within the writing itself -- confirm Rundgren's exceptional skill at songcraft.

Runt, is a thoroughly impressive debut and one of his finest pop records.

Reluctant to start a full-fledged solo career after leaving the Nazz, Todd Rundgren formed Runt, a band that was a front for what was in effect a solo project. Such isolationism lends Runt its unique atmosphere -- it is the insular work of a fiercely talented artist finally given the opportunity to pursue his off-kilter musical vision. From the moment the slow, bluesy psychedelic grind of

"BROKE DOWN AND BUSTED" (studio version)

starts the album, it's apparent that Rundgren could never have made Runt with the Nazz -- and that's before the introspective ballads or the willfully strange stuff kicks in. Throughout the record, Rundgren reveals himself as a gifted synthesist, blending all manners of musical styles and quirks into a distinctive signature sound.

Likely exercising the same controlling approach that he was notorious for, from his work with every act from the New York Dolls to XTC, Todd Rundgren brought in legendary backup vocal duo Flo and Eddie as well as a cellist, two horn players (including NRBQ member Donn Adams), and himself on keyboards. The end result is simply fantastic, fusing the post-punk charge of the first two albums (Ely still sounds great as always, from the first song on, while Tim Butler acquits himself well on bass) with a new synth-based approach that works wonders. Ashton's guitar often settles back in the mix a bit to allow Rundgren's wall of sound to come together fully, often with great success!

The title track is a great example of this, an inspirational anthem where Ashton fully and appropriately lets go right at the end. The most well-known song is one that, for the Furs, was their most atypical single to date: "Love My Way." Butler's very Bowie-like vocals and lyrics slyly celebrate and ponder the triumphant synth-rock scene of the time, while Rundgren's often quirky keyboards take the lead in place of Ashton's guitar and Flo and Eddie wordlessly vocalize at the end. "Goodbye" has a brisk, horn-driven punch underscoring Butler's wickedly sour au revoir to a past love; "Sleep Comes Down" mixes Tim Butler's lovely bassline and Rundgren's piano; "President Gas" wryly takes a shot at Reagan while avoiding obvious platitudes; and "Yes I Do" ends on an almost sweetly romantic note, even as the cello/drum-driven arrangement surges along.

See if you can figure out who's singing at any given time Todd Or Daryl Hall? Have fun trying to figure it out! If these guys Hall & Rundgren aren't 2 of the Best vocalists of all time I don't know who is?

And the Guitar Leads just have to be by Todd. They're just too good not to be. And as always TURN IT UP!